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COPWIGHT, 1889. BY WALTEH H. BAKER & CO- 



|a. W. PINERO'S PLAYS. I 

/|S /IS 

ilC Uniformly Bound in Stiff Paper Covers, ifii 

>av Price, 50 cents each. jui 

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*.l\ The publication of the plays of this popular author, made feasible by the new 

/|V Copyright Act, under which" his valuable stage rights can be fully protected, 

*l^ enables us to otter to amateur actors a series of modern pieces of the highest 

/AV class, all rtf which have met with distinguished success in the leading English ^AV 

'" and American theatres, and uiObt of which are singularly well adapted for aina- "j 

/fa 



4fS 



/AV tear pe.rionnance. This publication was originally 11 

'I* reaiiers only, but tlie increasing demand for the play; 

>ii far outrun their merely literary success. With the i< 

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m 



illy intendeil for the benefit of 
ps for acting purposes has 

idea of placing this excel- >AW 

lumber of amateur clubs, we *|* 

iii have obtained authority to offer thein for acting purposes at an author's roy- ifAV 

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as us 

*|^ nrTJ-p A T\7T A 70T\J^ I A Farcical Romance in Three Acts. Bv Arthur *l* 

*4i rX.lVl/A^.V 1 ^^* I W. Pineim. Seven male and five female char- >AV 

^fjl ' — I ~ acters. Costumes, modern: scenery, an exterior *f* 

kk'/S an<1 an interior, ntft at all difficult. Tins admirable farce is too well known £|* 

Mf through its recent performance by the Lyceum Theatre Company. New York, to Mr 

|4j need description. It is especially recommended to young ladies' schools and tjj 

W colleges. (1895.) Mr 

w 

W THE CABINET MINISTER.! JkS^frSSS/ffil *S 

^|*j — — * and nine female characters. 

Mr Costumes, modern society : scenery, three interiors. A very amusing piece, in- 

%i'i g eilions iu construction, and brilliant in dialogue. (1892.1J C|^ 

M' FlATMTW DTn^ I A Farce in Three Acts. By Arthur W. Pixero. Mr 

^A^ i-'/VLNJ-' I J-/lVrfJV» Seven male, four female characters. Costumes, mod- t|j 

Mf - — i ' ern ; scenery, two interiors. This very amusing piece Mr 

ti'/l was another success in the New York and Boston theatres, and has been ex- ^|j 

Mr tensively played from manuscript by amateurs, for whom it is in every respect Mr 

t'| j suited. It provides an unusual number of capital character parts, is very funny, ^g^ 

Mf and an excellent acting piece. Plays two hours and a half. (1893.) Mf 

t'A'j TUC TJTYI2T5V UADW I A Comedv in Three Acts. By Arthur 
W 1 rlr. rLKJDD X riV-Uvor.. \y. Pinkko. £«m male, ffve female charV 

^1^ ' acters. Scenery, two interiors and an ex- ^|% 

Mr terior ; costumes, modern. This piece is best known in this country through the Mr 



f 



I 

f 

k|W interiors, not easy. A play of powerful sympathetic interest, a little sombre in tli 
M* key, but not unrelieved by humorous touches. (1892.) M* 



ihd admirable performance of Mr. John Hare, who produced it in all the principal 
Mr cities. Its story presents a clever satire of false philanthropy, and is full of 
1 A d interest and humor. Well adapted for amateurs, by whom it has been success- 
Mr full y acted. Plays two hours and a half. (1892.) 

Mf T ATW "ROT TTVTTTRT TT I A Plav in Four Acts. By Arthur W. Mf 
Mk'j LAL'I r>\J\JL\ 1 UTVls. \ p rKEK o. Eight male and seven female char- 
Mr — — ' acters. Costumes, modern ; scenery, four 



RUBBER BOOTS 



a jFarce in ©ne &ct 



BY 



MANLEY H. PIKE 



BOSTON: 



- ■ - - ■ ■ ^ 

1898 



17997 • A 

CHARACTERS. 



Pauline, 

Lou, \~ Sisters ', who have more or less to say. 

Sophie, 

A Tramp, for and by whom there is nothing to be said. 



Costumes modern, with concessions to the tramp in the matters of 
antiquity and appropriateness. 




Copyright, 1898, by Walter H. Baker & Co. 



TMP96-0068 76 



■ 

4 



RUBBER BOOTS. 



Scene. — An interior, as pretty as possible. Practicable window 
at back, c. Doors r. and l. Portiere across l. back corner, 
well out. Sofa R. c, back to the front. Chair R. front. Side- 
board, with bowl supposed to contain salad, plate of rolls, plate 
of doughnuts, L. front. Vase upon sideboard, bottle inside. 
Pair of men's rubber boots on floor L. of sideboard. 

(Screams heard before rise. Pauline, Lou, and Sophie dis- 
covered clinging together, c.) 

Pauline (screaming). Oh ! 

Lou (same). Oh ! 

Sophie (prolonged scream). Oh-h-h-h ! (They clutch one an- 
other and look apprehensively about.) 

Lou. Think of it ! The very da> papa and mamma are called 
to Aunt Alice's, the cook goes away without giving warning ! 

Sophie. And the second girl gives warning, and then goes 
away too — 

Pauline. Without warning. Though, fortunately, if the cook 
did take French leave, she left us some French rolls (indicating 
plate) — which I don't like. 

Sophie (indicating bowl). Salad — which I hate. 

Lou (indicating the other plate). And doughnuts — which I 
abominate. They're so old-fashioned. 

Pauline. Besides leaving us alone. 

Lou. If it were only that, Pauline. It isn't being left alone 
that I mind, but not being left alone after you're left alone. 

Sophie. Why, there isn't a soul within two miles ! 

Lou. Oh, how I hope there isn't ! 

Pauline. Why, Lou! 

Sophie. You hope there isn't? 

Lou. Yes ; for if there is, he's a tramp ! 

Pauline. ) A . . . ^ „ 

Sophie. \ A tram P ! (All scream.) 

Pauline. How silly ! Aren't there three of us ? 



4 RUBBER BOOTS. 

Sophie. Yes ; but that's no advantage. We're only just three 
times as frightened. 

Pauline. Pooh ! We've got arms — a pistol and a sword. 

Lou. But I never fired a pistol in my life. 

Sophie. And I never fired a sword — oh, eh — what am I saying ? 

Pauline. Well, the pistol isn't loaded. • 

Lou. And the sword won't cut. 

Sophie. That's lucky for the tramps, or for us — I don't know 
which. 

Lou. I do. Lucky for us. We'd be morally certain to shoot 
or slice ourselves ; and what's the use of defending your life if 
you kill yourself in doing it? 

Sophie {half crying). I'd j-just as s-soon be k-killed as sc-scared 
to death ! 

Pauline. Come, come, girls! We must be brave, and act 
like men — I mean, like women. 

Sophie {plucking up courage). I will. {Goes very timidly to 
sofa and looks under it.) 

Lou. O Sophie, how brave you are! I thought of that, but 
didn't dare do it. {Opens door of sideboard j looks in and starts 
back.) Oh ! 

The Others. What was it? 

Lou. Nothing ; but I was afraid there might be something, 
and it was an awful shock to find that there wasn't. 

Pauline. For shame, girls! Do you call this acting like 
women ? 

The Others. Yes, Pauline, we do ! 

Pauline. I must say I blush for my sisters. Haven't you 
both had every opportunity for strengthening your minds ? Lou, 
didn't you learn all about " What to do before the doctor comes " ? 

Lou. Yes ; but that doesn't tell me what to do after the burglar 
comes. 

Pauline. You, Sophie, attended a whole course of lectures on 
" First Aid to the Injured." 

Sophie. But I don't want to be injured at all ; and if I could 
injure a tramp I shouldn't care whether he had any aid or not — 
first, second, or third. 

Pauline. So it seems that there is only one person in this 
house who has any courage, /don't mean to fall into a panic, 
even if papa is away. Didn't I write my graduation essay upon 
the subject, " Woman's Opportunity is in Man's Absence " ? 

Sophie. Yes; but that doesn't include the cook's absence. 

Lou. Or the second girl's. And what's more, Pauline, I believe 
you're just as scared as either of us. {Suddenly.) Oh, there he 
is ! {Points off.) 



RUBBER BOOTS. 5 

Pauline. Oh, mercy! {Jumps on chair, r.) Who? Where? 
What ? How many of him ? {The others laugh. Pauline, jump- 
ing down ) Very well, Miss Lou, very well. Perhaps before this 
night is over you'll be sorry that you tried to shake your sister's 
nerve. 

Lou. I tried — and I succeeded, too. 

Sophie. And sister's nerve shook ! 

Pauline {vexed). Go to your rooms this instant, children. 
Remember what I've told you, try to act like reasonable, beings ; 
and {changing tone) please be very sure to look under all the beds. 
{Exeunt r., Lou and Sophie, laughing.) 

Pauline {walking about). They were perfectly right. I was 
frightfully frightened. I didn't mean to show it, though, and now 
I must do something to retrieve my reputation for courage, or I'll 
never hear the last of this. Suppose I play some innocent joke, 
to convince them that they're not so brave as I am ? I will. Now 
what can I — {sees boots) — why, papa's forgotten to put away his 
rubber -boots. {Holds them up.) Don't they look consolingly 
masculine ? If only there were a man in them ! {Pause.) A man 
in them ! I've got it — my innocent joke ! {Looks around room ; 
finally at portiere.) Ha, ha, ha ! {Continuing to laugh at fre- 
quent intervals, arranges boots under portiere, toes resting against 
each other, and tops concealed.) Th^re ! Wouldn't one suppose 
that a man had crawled in there and gone to sleep? It's perfect. 
Now I'll call the girls, and we'll see if sister's nerve is shaken. 
{Exit R.) 

{Pause. The Tramp appears outside window. With hands to 
his face, which is pressed against the glass, he careftdly ex- 
amines room ; then very cautiously opens window and climbs in. 
Piano begins " The Rogue 's MarcA." He stares about, until, 
seeing sideboard, he makes a wild rush to it, and begins eating 
extre7nely fast, using hands alternately, and glancing nervously 
over either shoulder. Looks into various empty pitchers, and 
then opens sideboard. A ttitude of joy. Takes out bottle, draws 
cork with teeth, smells, grins with delight, and takes long 
drink. Contemplates salad-bowl. Sudden inspiration. Seizes 
ornamental vase, pours salad into it, puts vase out of window. 
Grins. Looks at plate of rolls. Another inspiration. Puts 
them into his hat very rapidly, one at a time, then replaces 
hat on head. Grins again. Contemplates doughnuts, and 
has a third bright idea. Goes to window, reaches out, produces 
stick, returns to sideboard, and strings the doughnuts on stick. 
Now perceives boots under portiere. At first much alarmed, 
he stealthily approaches, and finally discovers that they are 



6 RUBBER BOOTS. 

not o?i any one y s feet. Sits 071 floor, takes off his wont-out 
shoes, puts on boots with great delight. He has been growing 
sleepy, however, and he looks about for a resting-place. Piano 
plays sonic lullaby air. He crawls under portiere, leaving 
boots projecting exactly as before. Piano stops.) 

(Enter Pauline, r.) 

Pauline. It was all I could do to get those girls out of their 
rooms. I thought I should never succeed. But they're coming 
at last, and now for an exhibition of bravery. 

(Enter Lou and Sophie, r., frightened^ 

Lou and Sophie (rushing to Pauline). Oh, did you hear a 
noise? Down here ? Did you see anything? What was it? 

Pauline (impressively). There is a man in the house ! (They 
cling to her.) Now you will see whether you really shook your 
sister's nerve. There he is ! (Points to boots. Girls terrified.) 
I'll show you that the title of that essay ought to have been, 
"Woman's Opportunity is in Man's Presence." (Walks majesti- 
cally toward portiere. The Tramp moves his feet. All shriek 
and fall back, Pauline trying to get behind the others. Atti- 
tudes. The Tramp lazily lifts one foot and lets it fall over the 
other. Pauline rushes out l., other girls at r. The Tramp 
parts portiere, sits up, looks stupidly about, then takes a dough- 
nut from the stick and eats it. Drops back, feet in same position 
as at first. Enter Pauline, l. She wears a man 's hat and 
ulster and carries a sword.) 

Pauline. I'm so terrified that I'm full of courage. That per- 
son is certainly a tramp, and he may be a burglar and a murderer 
and an incendiary into the bargain. No matter. Somehow or 
other, this hat and ulster give me no end of self-confidence. He 
may possibly think me a man, if I can only speak gruffly enough, 
and flourish this horrid sword with sufficient energy ;' although 
really I'm almost as afraid of cutting myself with it as I am of 
being slaughtered by him. (Growing nervous^ But suppose he 
doesn't think me a man? Suppose he isn't impressed at all? 
Suppose he rises right up and takes my life ? (Collecting herself) 
Nonsense! I won't suppose — I'll bully! (Walks up and raps 
one of The Tramp's feet with sword. He draws foot up out of 
sight. Same business with the other. She parts portiere quickly 
and jumps back. The Tramp discovered sitting tailor-fashion, 
looking very much befogged. She points sword against him. He 
looks at it stupidly, and then, as if by a happy thought, puts a 
doughmit on the end of it, and grins inanely.) Ha, ha, ha! The 
poor fellow isn't dangerous. He wouldn't harm a fly. But what 



RUBBER BOOTS. 7 

a dreadful odor of liquor ! {Looking at sideboard.) Oh, I under- 
stand ! He's been at papa's brandy. And he seems to have 
eaten enough for seven strong men. No wonder he's so mild. I 
think I'm mistress of the situation. {Puts hand to her chin and 
surveys The Tramp, .who gazes back, still grinning.) Ha, ha, 
ha! (The Tramp^w a short, quick chuckle.) What a ridicu- 
lous creature ! But it's time he should go. He must come out, 
and those boots must come off. {Makes threatening signs. The 
Tramp is puzzled, and offers afiother doughnut; then takes off 
his hat, full of rolls, and offers that. Filially comprehends, and 
removes boots. Pauline, putting on boots while speaking.) I'll 
add the finishing touch to my costume. There! And there! 
{Stamping.) Now I really feel like a man. {Makes signs.) Get' 
up, sir ! {Stamps.) Get up, I say ! {Stamps. The Tramp slowly 
arises. She drives him around stage and to window, stamping 
at every other word, while he falls back in time with each of her 
advances.) Leave these premises at once, and never let me see 
you here again, or you'll be instantly arrested and tried and hung 
and drawn and quartered — quartered in jail, at least. Now, get 
out of the window ! Now, go ! {Shuts winaow, drops sword, and 
puts hands to her head.) Oh, he went just in time — he and his 
doughnuts — for I'm going to cry — no, I'm going to laugh — no,' 
I'm going to do both at once — for sister's nerve is shaken at last ! 
Ha, ha, ha! Boo, hoo, hoo ! {Hysterics. Throws herself upon 
sofa, showing boots projecting over one arm of it. Hysterics 
gradually subside. Enter r. Lou and Sophie, former with pis- 
tol, latter with large knifed) 

Lou {looking at portiere). Why, he isn't there ! 

Sophie {indicating boots). No, he's there ! {Both start.) He's 
stolen papa's boots and ulster and cap. 

Lou. O Sophie, I never shall dare ! 

Sophie. Neither shall I. 

Lou. But we must, though. 

Sophie/ Sha'n't we hunt up Pauline? 

Lou. Pauline ! No ! She's run away and hidden herself. 
We must do it alone. 

Sophie. But how? 

Lou. We'll smother his head in the sofa-cushions, and then tie 
him. Here's some cord. 

Sophie. But suppose he won't let us ? 

Lou. We'll make him. 

Sophie. You must put your pistol to his head. 

Lou. And you must dig your knife into his ribs — hard! 

Sophie. And we must threaten him awfully. 

Lou. Only he'll know we're girls by our voices. 



8 RUBBER BOOTS. 

Sophie. We'll change them. (Hesitatingly^) And — and — 

Lou. What is it? 

Sophie. Lou, did you ever hear any one swear ? 

Lou. Swear ? Why, no, of course not — yes, I have, too, once. 
1 heard Cousin Joe. 

Sophie. What did he say ? 

Lou. I don't want to repeat it, but I can if I must. He said 
— he said — 

Sophie. Yes, yes ! 

Lou. Oh, he said — (explosively} — darn ! 

Sophie. Oh ! 

Lou. Wasn't it awful — d-a-r-n ! 

Sophie (solemnly). Lou, do you think you could say that? 

Lou (appealingly). Sophie ! 

Sophie. You've got to. It will make that object there quail 
before us, it sounds so shockingly bloodthirsty. Yes, you've got to. 

Lou. I will. But I never, never thought I should ever have to 
use such a wicked word. 

Sophie. No ; and we never thought we should have to smother 
anybody's head in sofa-cushions and tie him. 

Lou. But what wWlyou say? 

Sophie (fiercely). " Surrender, and I will spare your life. 
Resist, and I will scatter your dismembered fragments over the 
floor!" (Natural voice.) How's that? 

Lou. It's too sweet for anything. 

Sophie. Now we're ready. You rush in on that side, I on this. 
One, two, three, and away ! (They filing the7nselves upon the sofa. 
Lou piles cushions on Pauline's head, while Sophie ties her.) 

Sophie (hoarse voice). Surrender, and I will spare your life. 
Resist, and — (suddenly becoming plaintive) — I'm sure I don't 
know what in the world I'll do! 

Lou (very rapidly, and in a whining tone). Darn, darn, darn, 
darn, darn ! 

Sophie. There ! I have him tied. 

Lou. There ! I have him half-suffocated. 

Sophie. Can you see what he looks like? 

Lou. No; I'm sitting on his head. Besides, I wouldn't dare 
look at him — he must be too hideous for anything. 

Sophie. I think he's secure. ■ 

Lou. Then we'll run and find Pauline, and show her what 
heroes — I mean heroines — we are. 

Sophie. And make her take her turn in sitting on his head. 

(Exeunt L. Pauline struggles, then sits up, her head appearing 
above back of sofia.) 



RUBBER BOOTS. 9 

Pauline {looking about). ■ Well? {Pause.) Well? {Pause.) 
Well? I'm alive, I believe — perhaps I won't go so far as that; 
but at any rate, I'm not dead. What horrid ruffians ! I never in 
all my life heard anything quite so awful as the threats of the one 
who tied me, excepting the way that other wretch swore — why, I 
couldn't even have fancied such frightful profanity ; what they said 
afterward I couldn't hear, because I was nearly smothered ; but 
it was even worse, I'm sure. Where can the villains be ? They've 
gone to burn the girls and murder the house — I mean burn the 
house and murder the girls. That's certain. And — why, upon 
my word, they've tied me so loose that I can free my hands ! 
Yes, and get out of these boots. {Rises.) I'll find out where 
those scoundrels are. {Exit, l.) 

{Music, " The Rogue's March,' 1 '' as before. Re-enter, quickly, at 
window, The Tramp, who goes to cupboard, and drinks from 
bottle. Sees boots o?i sofa, puts them on and crawls under por- 
tiere, boots projecting just as before. Music stops. Re-enter the 
three girls, L., Pauline speaking very fast as they come on.) 

Pauline. And they tied my feet and they tied my hands and 
they piled cushions on my head and they sat upon them until I 
thought I never should breathe another mortal breath — {at c.) — 
and now what do you imagine can have become of them ? 

Lou. The one we captured must have got free and seized you. 

Pauline. Did you capture him here ? 

Sophie. Yes ; on the sofa. His companion must have come 
and released him, and then they did the same to you as we did to 
him — out of revenge, no doubt. 

Pauline. Well, it's evident they've been frightened away. 
You were a pair of brave girls, and I'm proud of you. I wish 
you'd show me how you did it. After what I've been through to- 
night I've grown fond of assault and battery. 

Lou. So have I. • 

Sophie. It's a regular trade with me. 

Pauline. Well, then, charge ! 

Sophie {rushing to sofa). Surrender, and I will spare your 
life. Resist, and I will scatter your dismembered fragments over 
the floor ! 

Lou {same). Darn, darn, darn, darn, darn, darn! (Pauline 
sinks into chair r., and bu?sts out laughing.) 

Sophie \ ^ at so f a )' Wasn't that well done ? 

Pauline {between bursts of laughter). Oh, I shall die, I shall 
die, I shall certainly die! O girls, O girls — it was you — it was 
I — oh, dear, I don't know how to tell you ! 



IO RUBBER BOOTS. 

The Others {coming to her). What's the matter? 

Pauline (as before). Nothing — nothing at all — only you 
took me for a sleeping tramp and I took you for two very wide- 
awake ones ! 

Lou. What ? 

Sophie. Was it you ? 

Pauline. Yes; and I thought I'd never heard such desperate 
threats and such horrible profanity — oh, dear, oh, dear, ha, ha, 
ha! 

Lou. Ha, ha, ha ! 

Sophie. Ha, ha, ha, ha ! (Prolonged laugh, stopped abruptly 
as she sees boots under portiere. Lou continues to laugh. Sophie 
puts her hand over Lou's mouth, and turns her slowly around 
until she can see boots. Lou in attitude. Pauline left laughing 
alone. Sophie twists her quickly about till she faces boots, and 
laugh stops instantly. The Tramp ?noves his feet, and all recoil 
in attitudes?) 

CURTAIN. 

(For Recalls. First Picture. The Tramp is getting out of the 
window, threatened by the girls. Boots on floor, c. front. 
Second Picture. Girls embracing. The Tramp appears at 
window, beckoning. Sophie gets bottle, secretly turning it tip- 
side down to show that it is empty, laughs, and gives it to The 
Tramp. He lifts his hat in burlesqiie thanks, and the rolls 
in it fall all over him. Pauline holds boots aloft in triumph.) 

QUICK CURTAIN. 



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A FARCE IN ONE ACT. 
By ARLO BATES. 

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A FOOTBALL FARCE IN ONE ACT. 

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A COMEDY IN ONE ACT. 

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Price 15 Cents, 







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jii i J Scenery, three interiors, rather elaborate ; }j^ 

fk\ costumes, modern. This is a piece of serious interest, powerfully dramatic in #A\ 

^T^ movement, and tragic in its event. An admirable play, but not suited for ama- •,",:■ 
ww\ teur performance. (1892.) 



# THE NOTORIOUS 
Jf* MRS. EBBSMITH, 



m 



THF SfHOOT MTSTRF<N<s f A Farce in Three Acts. By Arthur 
IE. O^riW^JXllO I I^COO* | Wi PlNFH() . Kine male; seven fe- 



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THE SECOND 
MRS. TANQUERAY. 



A Play in Four Acts. By Arthur TV. 
Pixero. Eight male and five female char- 
acters. Costumes, modern ; scenery, three 
interiors. This well-known and powerful 
play is not well suited for amateur per- 



the repertoire of Mr. and Mrs. Kendal in this country. It presents a plot of 
strong dramatic interest, and its incidental satire of " Woman's Rights" em- 
ploys some admirably humorous characters, and inspires many very clever lines, 
'ts leading characters are unusually even in strength and prominence, which 
lakes it a very satisfactory piece for amateurs. (1894.) 



fa 



>4V ****- *^^**>^w^^^»*-.^ * *^*-^^» ^ Pixero. Nine male, seven fe- iiw 

W^\ ' ' ' male characters. Costumes, mod- r.|* 

ilw era ; scenery, three interiors, easily arranged. This ingenious and laughable jvl 

W,f\ farce was played by Miss Kosina Voices during her last season in America with fB* 

ifAV great success. Its plot is amusing, its action rapid and full of incident, its dia- jk>L 

€f* logue brilliant, and its scheme of character especially rich in quaint and humor- 0t\ 

/K ous types. The Hon. VereQueekett and Peggy are especially strong. The piece jki 

Jy is in all respects suitable for amateurs. (1894.) § f\ 






W|i formaace. It is offered to Mi . Pinero's admirers among the reading public in kji 

Mf answer to the demand which its wide discussion as an acted play has created. Mr 

\|/ (1894-). Also in Cloth, $1.00. i&'j 

VM SWFFT T AVFTSTDFR I A Comedy in Three Acts. By Arthur ij> 

w OWE.E.1 L/i VHlNL>£JV« | w. PlNERO. Seven male and four female JI? 

\l/ — — — — — — — — — — — -* characters. Scene, a single interior, the %■/ 

k «I^ same for all three acts: costumes, modern ami fashionable. This well known .1' 

M# and popular piece is admirably suited to amateur players, by whom it has been %■# 

k*i> often given during the last few years, its story is strongly sympathetic, and its IV* 

%■/ comedy interest abundant and strong. (1893.) %■# 

^1* THE TIMES ! A Comedy in Four Acts. By Arthur TV. Pfxero. Six Mr 

11/ J - J - J - 1 -' x xxt «_?♦ i ma ] e ani ^ seven female characters. Scene, a single ele- klj 

JK gant interior; costumes, modern and fashionable. An Vr 

fclJ entertaining piece, of strong dramatic interest and admirable satirical humor. tli 

Mf (1892.) & Mf 

cYm THF \X7FATTFP WJf f A Comedy in Three Acts. Bv Arthur :Jf 

%•/ XXXJ -' wi^lftJ JV OH^ w PrxER'o. Eight male and eight female 11/ 

.•|^ ■ "~~ ' characters. Costumes, modern ; scenery, ?!" 

%■# two interiors, not difficult. This very amusing comedy was a popular feature of %■# 

,V* thp rPinprt.oirp r>f TVTr nml TVTra T?onrlck'\ in fhia nnnntrv 1> nwesnte a nlr»f r\t ™r 

« 



LIBRARY OF CONGRESS 



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NEW OPERETTAS FOI 




015 910 087 ft 



EDITH'S DREAM. 

Sin ©perctta for (tijitorcn. 

Words by MARGARET FEZANDIE and EDGAR MORETTE. 
Music by EUGENE FEZANDIE, Jr. 



Eleven characters, girls and boys, or all girls, as preferred ; ten or more addi- 
tional for chorus. Scenery unnecessary; costumes, pretty and fanciful, but 
easily arranged at home. This admirable little piece is printed complete with 
music. It is very tuneful and gracefully imagined, and is strongly recommended 
for private theatricals or for schools. It is particularly well suited for tbe latter 
use, as it deals whimsically with the question of youthful study, inculcating, 
however, an excellent moral. 



Price 



35 cents. 



ODD 0PERAS5EVENTIDE. 

A Collection of Short and Simple Musical 
Entertainments for Children. 

By MRS. G. N. BORDMAN. 



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This collection provides a simple operetta, a fairy opera, a picturesque motion 
song, a quaint musical pantomime, a pretty musical sketch, and two original 
humorous recitations for children, complete, with all the music, and full instruc- 
tions for performance. The music is tuneful and simple, and is specially written 
with the tastes and limitations of children in view. The solos are easily learned 
and sung, and all the choruses are written for voices in unison. The collection 
is strongly recommended for its simplicity and perfect practicability. Neither 
stage nor scenery is demanded, nor any other requirements that cannot be met 
without trouble by the equipment of the ordinary hall or church vestry, and the 
zeal of the most economical committee of arrangements. 



Price 



CONTENTS. 



50 cents. 



A Glimpse of the Brownies. A 

Musical Sketch for Children. Any 
number of boys. 

Market Day. An Operetta for Young 
People. Seven speaking parts and 
chorus. 

Queen Flora's Day Dream. An 

Operetta for Children. Six speak- 
ing parts and chorus. 



The Boating Partv. A Musical 
Sketch for Little Children. Thirty 
boys and girls. 

Six tittle Grandmas. A Musical 
Pantomime for very Little Children. 
Six very little girls. 

Jimmy Crow. A Recitation for a 
Little Girl. 

A House in the Moon. A Recita- 
tion for a Child. 



LIBRARY OF CONGRESS 




015 910 087 A 



